Alexander Evgenievich Yakovlev

Original canvas on its original stretcher. Two small canvas repair patches are visible on the reverse below the central stretcher bar. All four edges show signs of frame abrasions with corresponding minor paint loss. Faint horizontal stretcher bar marks are visible through the centre of the composition. There is a vertical scratch running along the lower left edge. There is a layer of light surface dirt with spots of dirt in places. Inspection under UV light reveals retouching to the sitter's left thigh and right knee which corresponds to the aforementioned repairs to the reverse. Held in an attractive gilt wooden frame. Unexamined out of frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

From his very first visit to Italy in 1914, Yakovlev was captivated by the country and returned many times over the years. He developed an interest in the art of the doomed city of Pompeii and, in particular, the beautiful Roman frescoes which no doubt encouraged his own love of mural painting and inspired him to develop his own brand of 'neo classicism'. The muted tones of this painting echo those of the faded Pompeian frescoes he so admired.